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Convegno 'Sostenibilità e Innovazione: Prospettive di Diritto Comparato' - La tutela ambientale attraverso il “principio verde” nel Codice civile della Repubblica Popolare Cinese
No full textLA REGOLAZIONE DELLA PRODUZIONE CULTURALE NELL’ERA DIGITALE. ITINERARI DI DIRITTO COMPARATO TRA EUROPA E CINA
Get PDFIl presente studio si propone di analizzare l'evoluzione della regolazione delle industrie culturali e creative in una prospettiva comparativa, soffermandosi sui contesti giuridici inglese, cinese ed europeo. Esaminando il modo in cui queste normative si sono sviluppate, si mira a offrire una comprensione esaustiva delle implicazioni storiche, teoriche e pratiche che caratterizzano ciascun ordinamento, mettendo in luce le peculiarità e le convergenze che emergono nell'interazione tra diritto, cultura e innovazione tecnologica. Il primo capitolo ricostruisce in modo approfondito il percorso normativo inglese, dalle radici medievali fino alle odierne sfide poste dall’innovazione tecnologica, evidenziando come l’Inghilterra sia stata un pioniere nella regolazione della produzione culturale. L’analisi si apre con l’introduzione della stampa nel XV secolo, evento che ha rivoluzionato il sapere e la sua circolazione, portando alla necessità di definire regole per il controllo e la protezione delle opere librarie. Gli Arundel’s Constitutions e la fondazione della Company of Stationers rappresentano i primi tentativi di normare i contenuti, combinando censura e tutela degli interessi economici degli editori. Proseguendo, il capitolo esplora le dinamiche normative del periodo Tudor e Stuart, analizzando il ruolo cruciale del Printers and Binders Act del 1534 e dei decreti della Star Chamber, che consolidarono un sistema di controllo culturale centralizzato. Particolare attenzione è dedicata al Licensing Act del 1662, che introdusse un regime più strutturato per la regolazione editoriale, e all’influenza delle teorie lockiane sulla proprietà intellettuale, che posero le basi per il moderno concetto di copyright. La Legge di Anna del 1710 segna un momento rivoluzionario nella storia del diritto d’autore, riconoscendo per la prima volta i diritti economici degli autori e trasformando il libro in un bene protetto. Il capitolo si conclude con un’esplorazione delle sfide contemporanee del copyright inglese, tra cui l’armonizzazione normativa europea, le implicazioni delle tecnologie blockchain e l’intelligenza artificiale, che stanno ridefinendo lo statuto giuridico di nuovi prodotti culturali come videogiochi e contenuti digitali. Il secondo capitolo si concentra sul contesto cinese, caratterizzato da un sistema normativo unico che intreccia elementi di continuità storica e profonde trasformazioni moderne. L’analisi si apre con un’esplorazione del concetto di cultura nella tradizione cinese, attraverso i termini wenyan (文言), wenhua (文化) e wenming (文明), mettendo in evidenza il ruolo del confucianesimo nella consolidazione dell’autorità statale e nella definizione dei paradigmi culturali. Si analizzano le pratiche di controllo culturale durante l’unificazione imperiale, con particolare riferimento alla politica del “bruciare i libri, seppellire i confuciani” (焚书坑儒), simbolo della repressione legista. L’invenzione del ban (版) in epoca Song rappresenta una svolta normativa e tecnologica fondamentale, che getta le basi per una regolazione più articolata della produzione culturale. La transizione dalla tradizione alla modernità è esaminata attraverso le riforme della tarda dinastia Qing, influenzate dai modelli giuridici occidentali e accelerate dalle pressioni esterne dei trattati ineguali. Durante il periodo repubblicano, l’emergere di nuove forme di produzione culturale, come il cinema, evidenzia una crescente consapevolezza della tutela autoriale. Nella Repubblica Popolare Cinese, il controllo politico esercitato dal Partito Comunista si intreccia con le politiche di promozione delle industrie culturali e creative, in un contesto caratterizzato da tensioni tra ideologia maoista e riforme del socialismo di mercato. L’analisi si sofferma sulle sfide contemporanee poste dall’intelligenza artificiale generativa e sul ruolo delle Corti cinesi nella tutela delle opere creative, sottolineando come il sistema cinese stia affrontando una trasformazione profonda nell’era digitale. Il terzo capitolo analizza in dettaglio la regolazione delle industrie culturali e creative in Italia e nell’Unione Europea, evidenziando le complessità di un panorama giuridico in continua evoluzione. Si esamina il ruolo strategico delle industrie culturali italiane nella tutela del patrimonio e nella promozione della creatività, con un focus su politiche pubbliche come l’Art Bonus e il sostegno alle start-up culturali, che testimoniano l’impegno delle istituzioni nel valorizzare il settore. L’analisi si amplia con uno studio delle politiche culturali europee, mettendo in evidenza l’impatto di strumenti normativi come la Direttiva Televisione Senza Frontiere, il Digital Services Act e il programma Europa Creativa nel promuovere la diversità culturale e il pluralismo. Particolare attenzione è dedicata all’armonizzazione europea in materia di diritto d’autore, con un approfondimento sulle principali direttive e sui dibattiti suscitati dalla Direttiva Copyright del 2019, che ha sollevato questioni cruciali sul bilanciamento tra creatività individuale e intermediazione digitale. Inoltre, il capitolo si sofferma sulle sfide normative e tecnologiche poste dalle opere culturali e creative, esplorando le loro molteplici declinazioni, dal software alle opere assistite dall’intelligenza artificiale, e sottolineando il ruolo cruciale delle imprese culturali nel contesto del made in Italy. Il lavoro si conclude con una riflessione articolata sulle implicazioni di un sistema giuridico globale in cui cultura e creatività diventano strumenti di soft power e terreni di conflitto regolativo. Si propone un approccio comparato e interdisciplinare che riconosca le peculiarità normative di ciascun contesto e offra soluzioni innovative alle sfide poste dalle industrie culturali e creative nell’era dell’intelligenza artificiale. Questo approccio mira a favorire un equilibrio sostenibile tra la protezione dei diritti d’autore, la promozione dell’innovazione tecnologica e la valorizzazione del patrimonio culturale globale.This study aims to explore the regulatory evolution of cultural and creative industries from an advanced comparative perspective, focusing on the legal frameworks of England, China, and the European Union. Through an interdisciplinary and historical analysis, the research examines the connections between law, culture, and technological innovation, highlighting the specificities, convergences, and practical impacts of each regulatory framework while delving into nuanced debates and cross-jurisdictional influences shaping these industries. The first chapter analyzes the English experience, offering a comprehensive examination of its medieval roots, extending to the intricate challenges of contemporary regulation. The introduction of the printing press in the 15th century was a pivotal event, revolutionizing the dissemination of knowledge and prompting a need for robust regulatory mechanisms. The Arundel’s Constitutions and the establishment of the Company of Stationers marked the nascent stages of systematic regulation, blending censorship with economic incentives to protect emerging market interests. This regulatory foundation expanded significantly during the Tudor and Stuart periods, driven by landmark interventions like the Printers and Binders Act of 1534 and the decrees of the Star Chamber, which institutionalized centralized cultural oversight. An in-depth exploration of the Licensing Act of 1662 reveals its role in solidifying a formal regulatory framework, complemented by Lockean philosophical contributions that underpinned the modern notion of intellectual property. These developments culminated in the Statute of Anne in 1710, a transformative piece of legislation that not only affirmed authors' economic rights but also reshaped the publishing industry’s dynamics, paving the way for international copyright norms. The chapter concludes by addressing contemporary issues such as the harmonization of European regulations, the transformative role of blockchain technology, and the integration of artificial intelligence into the cultural economy, underscoring the evolving interplay between tradition and innovation. The second chapter shifts focus to the Chinese legal framework, characterized by its unique synthesis of historical legacy and adaptive modernization. Central to this exploration is the examination of cultural concepts as embodied in the terms wenyan (文言), wenhua (文化), and wenming (文明), which underscore the Confucian emphasis on culture as a pillar of state authority. The historical trajectory includes an analysis of cultural control during imperial unification, epitomized by events such as the “burning of books and burying of scholars” (焚书坑儒) under the Qin dynasty, and the technological and regulatory innovation of the ban (版) during the Song dynasty, which revolutionized the preservation and dissemination of knowledge. The modernization of China’s legal system is explored through the lens of late Qing reforms, where exposure to Western jurisprudence and the pressures of unequal treaties necessitated significant legal restructuring. The Republican era saw burgeoning attention to copyright law, particularly in emerging cultural industries like cinema. The establishment of the People’s Republic of China introduced a socialist framework, blending centralized political control with a gradual embrace of market-oriented reforms in cultural and creative industries. The chapter concludes with an analysis of modern challenges, including the regulatory implications of generative artificial intelligence and the judiciary’s expanding role in adjudicating creative rights, highlighting China’s strategic approach to navigating digital-era complexities. The third chapter investigates the regulatory landscape of Italy and the European Union, spotlighting the strategic importance of cultural and creative industries in preserving heritage and fostering innovation. In Italy, tools like the Art Bonus and targeted support for cultural start-ups are analyzed as mechanisms that underscore the sector’s dual economic and cultural significance. At the European level, harmonization initiatives such as the Television Without Frontiers Directive, the Digital Services Act, and the Creative Europe program are scrutinized for their roles in promoting cultural diversity and addressing the challenges posed by digital platforms. The 2019 Copyright Directive receives particular attention for its controversial approach to balancing creators’ rights with the operational realities of digital intermediaries, sparking wide-ranging discussions on the future of intellectual property law in the EU. The chapter also delves into the implications of emerging technologies, examining the evolving role of AI-assisted creations and their integration within Italy’s “Made in Italy” framework, which highlights the interplay between traditional craftsmanship and contemporary innovation. Through these analyses, the chapter underscores the necessity of adapting legal paradigms to accommodate rapid technological advancements while safeguarding cultural authenticity and market competitiveness. The study concludes with a comprehensive reflection on the global implications of cultural and creative industry regulation, emphasizing their dual role as instruments of soft power and arenas of regulatory contestation. A comparative and interdisciplinary methodology is proposed, aiming to reconcile the normative particularities of different jurisdictions with the overarching demands of a globalized cultural economy. By addressing the challenges posed by artificial intelligence and other disruptive technologies, the study advocates for sustainable strategies that balance legal protection, technological innovation, and the valorization of cultural heritage, ensuring these industries remain resilient and vibrant in an ever-changing global landscape
Volatility in the stock market: ANN versus parametric models
No full textForecasting and adequately measuring equity returns volatility is crucial for portfolio selection and trading strategies. Implied volatility is often considered to be informationally superior to the realized volatility. When available, implied volatility is largely used by practitioners and investors to forecast future volatility. To this extent we want to identify the best approach to track equity returns implied volatility using parametric and ANN approaches. Using daily equity prices and stock market indices traded on major international Exchanges we estimate time varying volatility using the E-GARCH approach, the Heston model and a novel ANN framework to replicate the corresponding implied volatility. Overall the ANN approach results the most accurate to track the equity returns implied volatility
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
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